The short story composite and the roots of modernist narrative

dc.contributorBeidler, Philip D.
dc.contributorHubbs, Jolene
dc.contributorMcNaughton, James
dc.contributorWhite, Heather Cass
dc.contributor.advisorWhiting, Frederick
dc.contributor.authorMatheny, Kathryn Grace
dc.contributor.otherUniversity of Alabama Tuscaloosa
dc.date.accessioned2017-03-01T16:25:52Z
dc.date.available2017-03-01T16:25:52Z
dc.date.issued2012
dc.descriptionElectronic Thesis or Dissertationen_US
dc.description.abstractWhile the story cycle form has been popular for centuries, as seen in works like 'The Decameron' and 'One Thousand and One Arabian Nights,' it is especially important to modern Anglo-American literature. Twentieth century short story composites by James Joyce, Sherwood Anderson, and Ernest Hemingway represent high points not simply for the genre, but also for modernist literature. Despite the centrality of these texts to the genre and to the period, the connection between time and form has often gone unexplored. Indeed, short story composite theory is still a bit unfocused, defining itself in reaction to the genres with which the composite is often confused, especially the novel. While it is important to disentangle the short story composite from these other genres, paradoxically, it is counterproductive, even harmful, to do so without acknowledging the ways in which they do undeniably overlap. Particularly, a refusal to draw comparisons between modernist novels and short story composites represents a missed opportunity to consider the field of modernist narrative holistically. Clearly, a more nuanced articulation of short story composite theory is necessary. It would provide clarity for composite works and help articulate the structural properties of composite narrative more generally, a concern central to understanding modernist narrative practice. Through examining works that range from high to low to popular, I argue that the short story composite encompasses a variety of forms and modes of writing but displays similar central characteristics organic to the period. The first two chapters work to situate the debate within various dovetailing contexts, including the history of the short story genre in the nineteenth century as well as the twentieth century shift of literary and critical production to the academy. Another chapter will also identify the concept of 'textual autonomy' as an especially problematic aspect of composite narrative theory, determined as it is by those contexts that shaped the genre and its criticism. Finally, a final chapter interrogates the relationship between modernity and narrative through the lens of WWI fiction. Writers discussed include Joyce and George Moore; Anderson and Hemingway; Gertrude Stein and Thornton Wilder; Sarah Orne Jewett, John Steinbeck, and Willa Cather; and John Dos Passos, William March, and e. e. cummings.en_US
dc.format.extent263 p.
dc.format.mediumelectronic
dc.format.mimetypeapplication/pdf
dc.identifier.otheru0015_0000001_0000896
dc.identifier.otherMatheny_alatus_0004D_11092
dc.identifier.urihttps://ir.ua.edu/handle/123456789/1392
dc.languageEnglish
dc.language.isoen_US
dc.publisherUniversity of Alabama Libraries
dc.relation.hasversionborn digital
dc.relation.ispartofThe University of Alabama Electronic Theses and Dissertations
dc.relation.ispartofThe University of Alabama Libraries Digital Collections
dc.rightsAll rights reserved by the author unless otherwise indicated.en_US
dc.subjectAmerican literature
dc.subjectBritish and Irish literature
dc.titleThe short story composite and the roots of modernist narrativeen_US
dc.typethesis
dc.typetext
etdms.degree.departmentUniversity of Alabama. Department of English
etdms.degree.disciplineEnglish
etdms.degree.grantorThe University of Alabama
etdms.degree.leveldoctoral
etdms.degree.namePh.D.
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